Jody Lyn Flynn attended Iowa State University where she received a double major Bachelor of Fine Arts in Interior Design and Speech Communication with a Theater emphasis. In her second semester in the theater program, she was asked to be the on-staff assistant scenic artist working simultaneously as prop-mistress and soundboard operator until she graduated.
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— Jody (@JodyLynFlynn) October 18, 2015
This hands-on diversity gave her unique insight to the backstage perspective of play production. After graduating, she relocated to Los Angeles to do her postgraduate training on full scholarship at the University of Southern California in Set Design and Scenic Art.
Having done the LA thing, New York City beckoned and off she went again to attend the renowned Circle in the Square Theater School where she became the only student ever to be accepted simultaneously into the summer conservatory as well as the full 2 year training program. Further rounding out her training includes HB Studios, The Labyrinth Master Class, The Actors Movement Studio, Stella Adler, Weist Barron, The School of Visual Arts and classical training at the American Globe Theater Conservatory. Jody currently resides in Manhattan.
Did you study acting
Growing up in the middle of a cornfield in Iowa, I didn’t see much theater…but there was plenty of television. I loved watching movies…particularly MY FAIR LADY but I think the tipping point for me was THE WAY WE WERE with Redford and Streisand. I felt the acting pull the most then.
I had a few classes in college, but got series afterwards. I had moved to Arizona and worked with several teachers/actors that helped get me to New York and Circle in the Square Theater School. The amazing staff of gifted teachers and actors catapulted me to a new level of acting. Specifically Ken Schatz, Alan Langdon, Teri Black, and Andrea Haring. My classical training was at the American Globe Theater and then private work with Bob McAndrew, Margaret Burns, and most notably and currently with Austin Pendleton
What acting technique do you use
Sense memory is incredibly powerful for me. It is my “go-to” for most characters. Occasionally with period pieces in particular, I will start with the physicality to find the character within me…and then go to the text, but most times text is what dictated the nuances and circumstances that create the character. I am also a huge fan of movement. This keeps me relaxed and loose and also helps me find where the character and her emotions and vulnerability live physically in my own body.
What wrong impressions do actors hold about acting
Being good is not enough. There are a LOT of really great actors out there. You have to network and create/find a group of people in the business who are NOT actors who believe in you and know your capabilities…these being coaches, casting directors, agents…etc. You also have to really know who you are and what your type is. This will guide you to the role you will be cast in…from there, once you have a good resume a work, you can start to branch out. But playing to your strengths will help get you in the door.
Do you take courses to improve your craft
All the time! Acting is a muscle that must be used. I am in classes..scene work and dialect work as much as possible. I work privately with coaches. I take voice lessons weekly for singing. I am part of a literary committee of Break A Leg Productions that stages new play readings once a month. I am a regular reader for new playwrights at Pulse Ensemble Theater Group.
What acting books do you read
I don’t read these as much as I used to…but going back to basics is always helpful. When I do, Stella, Uta, and Michael Cain for film work is insightful and direct.
How do you keep fit as an actor
Physically I work out 3-4 times a week. Mentally…that’s tough! I makes sure I don’t dwell on missed opportunities…my coach only allows me 24 hours to grieve … and then I get right back in the game.
When you’re offered a role, what do you do next
Read, read and re-read the script. Then I usually book a session with my coach to make sure my idea of the character is on-point…and then get off book as quickly as possible.
How do you take a character in a script to a honest, believable and breathing person
I try to connect with as many similarities from my own life experiences as with the character that are in the script. I build a past for her based on what the text has given me. I work with the director to make specific decisions on her previous life and how she got to be where she is in the moment. Then I deduce what her relationships are with the other characters and her purpose. Why is she here? why is she important to the play? What does she want and how is she going to get it?
How do you stay fresh on set
At that point, “she” and I are one. I stay in character as much as possible. For me, it becomes an outer-body experience. I am aware of everything around me, but my body and my voice belongs to the character.
Describe a memorable character you played
MAE, “Reservations” The Apron Strings Project, summer 2014 – author Jeffrey Fisher-Smith
Explain one creative choice you took on set
I played an older woman…mid-60s. I had trouble finding her within myself because I am much younger. I began to explore dialect and voice and how she would speak vs how I spoke. The instant I did that, I found her and everything came together…who she was, where she was from, how she got there.
EVERYTHING. The whole play came together at that moment.
What do you want most from a director
A collaboration and a safe environment.
What actors do you long to work with
When he was alive…Phillip Seymour Hoffman. Now, Cherry Jones, Maggie Smith, Meryl Streep, Judi Dench, Anthony Hopkins, Clint Eastwood, Dustin Hoffman.
Why
I think they all speak for themselves.
What advice would you give to actors
YOU are all you have…and this is a demanding business. Make sure you take care of yourself mentally, physically and especially emotionally
